rho} 


ag? a TATE oS UTC 


wp Sa eT SIE TI TO ano 


j is well known in the pictur® market — 
[ee eg work of Anders Zorn will bring, 
, Ly _price at this time. ‘This is 
the fact that Sweden, made espe- 
ily pro perous by the war, is deter- 
1 at whatever price to bring back into 
3 ake Works of the greatest 
diaba produced. Zorns are 
specially good investment 


. high figures ‘which the 
1€ for one of, his etchings, 
e Dos, Evening,” in New 
_. This went to A. H. Hahl 
: “$3900, and is one of the only’ 
ssions that were taken before 
fan e sBiste 9 oc S destroyed. It is a small. 
i nips toy by. 6% inches inches, and. 
; ie is womaidert one of the finest of Zorn’ s° 
| etchings from the nude, being beautifully 
atmospheric and more poetic in feeling 
than sonie of his more closely studied fig- 
; ures. The subject is in back view, her body 
| bent forward a little and her head turned 
rin profile as she climbs carefully over 
‘Some rocks at the foot of a cliff which 
rises. above her on one side, while the sea 
| is Selow her at the right. 
here was also a painting by Zorn in 
{ this sale, which was of the collection of 
j the late S. S,Rosentamm, and this went 
to Knoe & Co. for $7000. It was.a 
Winter sCene called “‘The Water Pails” 
and showed a pretty young Swedish girl, 
in light fur-trimmed suit ‘and red apron, 
carrying two large wooden pails on a yoke 
“across her shoulders. eahncgeahapacertn saree 
| fhe chief interest in the sales, however, 
} centred in the prints, which in addition to 
the Zorns included fine Diirers and Rem- 
brandts and the work of contemporary 
men, such as Charles W. Bartlett, André 
Smith, Timothy Cole, Hedley Fitton, Sey- 
mour Haden and William Auerbach Levy. 
The Zorns are said to have been the best 
“collection of his etchings ever put up for 
‘Sale in any country. 
The reports of the sale of the Rem- 
| brandts state that “‘Six’s Bridge’ went 
to Hahlo for $1025; for “Landscape with a 
Milkman,” J. O’Connor paid $2800: “The 
: Gold Weighet’s Field” brought $3100 from 
Knoedier & Co.} Albert Roullier, the Chi- 
cago print Rabies paid $2700 for “‘Clement 
jde Jonghe,” and $2400 for “Ephraim 
Bonus,” “Burgomaster Jan Six,’’ went to 
Hahlo for $2100. 
{ Kennedy & @%. paid the first four-figure 
{ price tera 2 Zorn, fiving $1525 for ‘Rosita 
| Mauri,” and r “The Artist and His 
| Wife,” Kep & Co. paid $1500. ‘‘Madame 
Armand Dayot” went to Hahlo for $1650, 
;and H. V. Jones paid $1200 for “Saint 
{ Ives, Le Pecheur.”’ To G. W. Kraushaar 
} went “The Waltz’’ for $1450, and Kenhedy 
3 Co. gave $1175 for “L’Orage,.”’ “Hy 
Omnibus” was knocked down to Knoedler 
[S Co. for $1100, and Albert Roullier paiq 
$1990 for “The Toast.” r the same. price 
@ Irlandaise,”’ also c nnie,”” went 


““wKennedy & Gee 


pga 


| 


Leads Sale ¢ of the Late 8.5, Ss. 


n m Collection. 


*e) 


aS 


Zor} ine FO 4 $7,000 


F900, 


embrandt - Etching’ ig 
_Weilgher’s Field,” Brings 51907 
=-171 Numbers, $89,742. 7 


esata 
Be 


by 


Old masters and -néw “went up ‘in big 
peidds together in the! sale of: thé. col- 
lection of etchings of the late. So Ss. 


‘Rosenstamm. at. the American Art Gal- 

leries. last: évening:: There was standing 
} room only in the sales ‘gallery, and the | 
eka! numbers—Duerers, Rembrandts, and | 


| Zorns—of the collection brought $69,742. 
This included one painting, the only: one 


inthe collection, a Maree. oll b 
Zorn, which went to Knoedler 
$7,000. This was an attesetive’ ‘Winter 
“scene, .‘‘ The Water Paits,”” the ‘dast 
number in the’ sale, a pretty. young 
Swedish girl in light fur-trimmed * suit 
and. red apron who is‘ Bigele, two 
‘large wood pails’ on a neck 


i 


aie Gold 


pe | 


| 


The interest of the sale .céntred in ihe! | 


‘prints, opening with the work of .con- 
‘temporary. men, Charles W., Bartlett,. 
| Andre Smith, Timgthy ¢ Jole;. Hedley it. 
| ton, Seymour Haden and William’ Auer- 
back Levy. The remaindér. were the 
| works of the two. old. masters and’ An- 
ders Zorn. It was said to be the best 
collection of etchings of ‘the Swedish 
eee ever put up for gale in any coun- 


"at was a Zorn which brought the high- 
est price among the étchings, No. 119. 
‘‘ Baigneuse de Dos, Hvening,’’ which 
went to A. H. Hahlo & Co. for $3,900. 
| This was a third te second state’ of 
itwo, proof signed in the plate, ‘* Zorn, 
1896,’’ and.on the lower margin:in pen- 
cil ‘ Zorn.” .It was a smail etching, 
9% by 6%, a fine, delicate impression on 

| Dutch paper in perfect condition... Only 

a dozen impressions were-taken before 

H. Prices in’ four figures began with the 

| Rembrandts; 82, *** Six’s Bridge,’’ went 
to Hahlo for $1,025; 
with’ a Milkman, * No. : 

‘| paid . $2,300; ae The 

| FYeld,”’ No. 85, - brought». 

|| Knoedler, & Co.;- Albert. Roullier,” the 
|; Chicago print dealer, ‘paid $2,700 for No. 
87, “‘ Clement de Jong is and’ $2 ane. for 


dy Preece 

. O'Conner 
Gola” " Weigher’s 
$3,100. from 


for 


No. 89,. ‘* Bphraim -Bonus.’ 
id Burgomaster Jan: Six,’’ went iy ahlo 
for $2,100. 


Kennédy & Co. paid the” first four- 
‘figure price for a. Zorn,, giving $1,525 
for ‘‘ Rosita Mauri,’’ No, 96, and. for 

|| No. 97, ‘‘ The Artist:and His Wife,’’; Kep- 
i; pel & Co, paid 51,500, * Madame .Ar- 
mand Dayot,’”’ 0. 98, went to Hahlo 
for -$1,650, and H. V. Jonés’ paid $1,200 
for No. 100, ‘‘ Saint.Ives, Le Pecheur.”’ 
iis G. W.. Kraushaar went’ No; 101, 
“The Waltz,’’ for $1,450, and’ Kennedy. & 
‘Co; gave $1,175, for No. 108, “* L’Orage.”’ 
|‘ #n Ornnibus,’” No. .107, was; knotkeéed 
i_ down to Knoedler & Co. for: $1,100, \and 
| Albert, ,Roullier paid $1,900 for ‘<The 
Toast,’’» No: 111. For the. same, price 
tne anaes also’ called’ “Annie,” 
No. 13, went to Kennedy .& Co. 
There was an afternoon sale- from the 
Rosenstemm. collection; snuff. bottles and 

‘silver, porcelain : and glass. : This 

‘brought returns of $9,813, making a 
‘total for the sales of: the aay of $80,555, 
Mrs. A. Vogel paid ia highest. prices 
iof the Meraoor, $1,050 for a, cheat .of 
iflat silver, $470 for “4 tea, and coffee 
bervie and $355 for a silver’ tray-- Chi* 

SE rectal ains,<iv~ies,, & willbe sold 
+ternoony —— 


oat pO “The. ‘Water - 
ak of. Riedie by. Bory 


ae o Connos Sea. the ar 
oe night for ‘the, etching ‘ 


‘the: ad: tots) being $8,556, ; 
- Rouillier bought Rembrandt’s 
entitled | “Clement de Jonghe’ for: 
nd another: etching by the same 
titled '“Bphraim  Bonus,’’ for’ 
e also paid $1,900 for a small Zorn | 
entitled “The Sia ats t A. Hahlo 


or $2, 100 and paid $1,650 for “Madame - 
nd Dayot,’’ by Zorn. Kennedy & Co, - 
id $1,900 for ‘‘L’Irlandaise’”’ and $1,525 for 
“Rosita Mauri,” another etching by Zorn, 
and also $1,175 ‘for “L’ Orage,” by the same | 
eo unie C. W. Kraushaar gave ba 450 for 
Zorn’s “The Waltz.” 

rota fashioned set of silver. ware 
Beetle ht the top price of $1,950, paid by 
‘Mrs. A. Vogel, at the afternoon sale. 
Other silver articles, including trays, cubs 
and plates, also. went to Me peel for} 
$1,000. . te ‘ 


ae 


i! 


No, 98, Zorn’s 
lier paid $2,700 for 


“Clement de qoR 
Rembrandt's : 


$1 ane for No. sees 


pee 


No, | if “phe oe | a 
‘ he R 


The let for 12 


ON PUBLIC EXHIBITION 
3 AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 
a ENTRANCE, 6 EAST 23rp STREET 


BEGINNING FRIDAY, JANUARY 23rp, 1920 
AND CONTINUING UNTIL THE TIME OF SALE 


= "THE CELEBRATED ROSENSTAMM COLLECTION OF 
7 : MASTERPIECES OF ETCHINGS BY 

| ae ZORN, REMBRANDT AND DURER 
..tsé AND ANN ORIGINAL PAINTING BY ZORN 


b 

QO 

E 

7 

= TO BE SOLD AT UNRESTRICTED PUBLIC SALE 

i> BY ORDER OF L. M. KRAMER, WILLIAM J. WOLLMAN AND L. J. LIPPMANN 
| EXECUTORS OF THE ESTATE OF THE LATE S. S. ROSENSTAMM 

| ON TUESDAY EVENING, JANUARY 27, 1920 

| Es COMMENCING PROMPTLY AT 8:00 O’CLOCK 


2 . AT THE AMERICAN ART GALLERIES 


AEH RIE Ow 


: 
Fe 
= 


ZORN 
se—“Ann 


RS 


ANDE 


*Trland 


ie”’ 


al 


L 


113] 


[ No. 


ILLUSTRATED CATALOGUE OF 
THE CELEBRATED ROSENSTAMM COLLECTION 


MASTERPIECES OF ETCHINGS AND 
AN ORIGINAL PAINTING BY 


ANDERS ZORN 


“TOGETHER WITH NOTABLE PRINTS BY 


REMBRANDT AND DURER 


TO BE SOLD WITHOUT RESERVE OR RESTRICTION 


BY ORDER OF L. M. KRAMER, WILLIAM J. WOLLMAN AND L. J. LIPPMANN 
EXECUTORS OF THE ESTATE OF THE LATE S. S. ROSENSTAMM. 


ON TUESDAY EVENING, JANUARY 27, 1920 


COMMENCING PROMPTLY AT 8.00 O?>CLOCK 


THE SALE TO BE CONDUCTED BY 
MR. THOMAS E. KIRBY AND HIS ASSISTANTS, OF 
THE AMERICAN ART ASSOCIATION, Manacers 


NEW YORK CITY 


PREFATORY NOTE RELATIVE TO THE LATE 
S.S. ROSENSTAMM’S COLLECTION OF ETCHINGS 


The Etchings collected by the late Mr. 8. S. Rosenstamm of New York 

City show a careful selection and a keen desire for the better impressions of 
the more notable examples of the works of Diirer, Rembrandt and Zorn, and 
with one or two exceptions are all in “Collector’s’”’ state. 
_ The Collection of Etchings by ANDERS ZORN is the most important one 
ever offered at public sale in America, and includes some examples from the 
collection used by Delteil for illustrations in his important Catalogue on Zorn. 
There are in this collection twenty-nine examples published since the issue 
of Delteil’s Catalogue. These are arranged chronologically and each plate 
given a number which the same would bear if Delteil’s Catalogue were brought 
to date. It has however been impossible to give the State of these latter etch- 
ings, owing to the fact of Delteil’s Supplement having as yet not been issued. 
In all cases the Zorn plates herein described are loosely hinged and matted, 
and in instances where a frame has been added, the same statement holds true, 
the back of the frame being fitted with knobs so that the same can be easily 
removed and the print inspected. 

The Collection of Etchings by REMBRANDT VAN RIJN contains twenty- 
five examples of this Master’s work, some of which are from great European 
Collections, several are without doubt as fine impressions as is possible to 
obtain. The impressions of,—Christ in the Garden of Olwes; Clement de 
Jonghe; The Goldweighers Field; Descent from the Cross; Landscape with 
Milkman; and View of Amsterdam, are most brilliant examples of these prints. 
The framed prints are loosely hinged and matted and as in the case of the 
framed Zorn prints, the backs are fastened with knobs so as to allow an easy 
inspection of the print. r 

The Engravings by ALBRECHT DURER are very fine, and considering 
the earlier work of this Master-—some one hundred years prior to Rembrandt 
—they show an equal desire on the part of the late owner to obtain the finer 
impressions of the same. Notable among these plates are, the Engravings 
of—Knight, Death and the Devil; The Virgin with the Monkey; The Pen- 
ance of Saint John Chrysostom; The Rape of Amymone; and Melancholia. 
The woodcuts include brilliant examples of,—Saint John Holding the Seven 
Golden Oandlesticks; The Seven Angels with Trumpets; and The Dragon 
with Seven Heads. The framed prints are as in the two preceding instances 
loosely hinged, matted and with back fitted with knobs, so as to allow an 
easy inspection of the print. 

Besides the above this collection contains Etchings by Hedley Fitton, and 
William Auerbach Levy; a fine Mezzotint by Seymour Haden; Etchings and 
Drawings by Andre Smith; Woodcuts by Timothy Cole; Woodcuts in Color 
by Charles W. Bartlett; and two series of colored Sporting Prints after H. 
Alken. 


Conditions of Sale 


1. Any bid which is merely a nominal or fractional advance may be rejected by 
the auctioneer, if, in his judgment, such bid would be likely to affect the sale in- 
juriously. 

2. The highest bidder shall be the buyer, and if any dispute arise between 
two or more bidders, the auctioneer shall either decide the same or put up for 
re-sale the lot so in dispute. 

3. Payment shall be made of all or such part of the purchase money as 
may be required, and the names and addresses of the purchasers shall be given 
immediately on the sale of every lot, in default of which the lot so purchased 
shall be immediately put up again and re-sold. 

Payment of that part of the purchase money not made at the time of sale, 
shall be made within ten days thereafter, in default of which the undersigned may 
either continue to hold the lots at the risk of the purchaser and take such action 
as may be necessary for the enforcement of the sale, or may at public or private 
sale, and without other than this notice, re-sell the lots for the benefit of such pur- 
chaser, and the deficiency (if any) arising from such re-sale, shall be a charge 
against such purchaser. 

4. Delivery of any purchase will be made only upon payment of the total 
amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., - 
and on other days—except holidays—between the hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American Art Galleries, or 
other place of sale, as the case may be, and only on presenting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of any purchase 
during the session of the sale at which it was sold. 

5. Shipping, boxing or wrapping of purchases is a business in which the 
Association is in no wise engaged, and will not be performed by the Association 
for purchasers. The Association will, however, afford to purchasers every facility 
for employing at current and reasonable rates carriers and packers; doing so, how- 
ever, without any assumption of responsibility on its part for the acts and charges 
of the parties engaged for such service. 

6. Storage of any purchase shall be at the sole risk of the purchaser. Title 
passes upon the fall of the auctioneer’s hammer, and thereafter, while the Asso- 
ciation will exercise due caution in caring for and delivering such purchase, it 
will not hold itself responsible if such purchase be lost, stolen, damaged or 
destroyed. ; 

Storage charges will be made upon all purchases not removed within ten days 
from the date of the sale thereof. 

7. Guarantee is not made either by the owner or the Association of the cor- 
rectness of the description, genuineness or authenticity of any lot, and no sale will 
be set aside on account of any incorrectness, error of cataloguing, or any imper- 
fection not noted. Every lot is on public exhibition one or more days prior to its 
sale, after which it is sold “as is” and without recourse. 

The Association exercises great care to catalogue every lot correctly, and will 
give consideration to the opinion of any trustworthy expert to the effect that any 
lot has been incorrectly catalogued, and, in its judgment, may either sell the 
lot as catalogued or make mention of the opinion of such expert who thereby 
would become responsible for such damage as might result were his opinion with- 
out proper foundation. 

SPECIAL NOTICE. 

Buying or bidding by the Association for responsible parties on orders trans- 
mitted to it by mail, telegraph or telephone, will be faithfully attended to without 
charge or commission. Any purchase so made will be subject to the above Condi- 
tions of Sale, which cannot in any manner be modified. The Association, however, 
in the event of making a purchase of a lot consisting of one or more books for a 
purchaser who has not, through himself or his agent, been present at the exhibition 
or sale, will permit such lot to be returned within ten days from the date of sale, 
and the purchase money will be returned, if the lot in any material manner differs 
from its catalogue description. 

Orders for execution by the Association should be written and given with 
such plainness as to leave no room for misunderstanding. Not only should the lot 
number be given, but also the title, and bids should be stated to be so much 
for the lot, and when the lot consists of one or more volumes of books or objects 
of art, the bid per volume or piece should also be stated. If the one transmitting 
the order is unknown to the Association, a deposit should be sent or reference 
submitted. Shipping directions should also be given. 

Priced copies of the catalogue of any sale, or any session thereof, will be 
furnished by the Association at a reasonable charge. 


AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


AT THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 


UNRESTRICTED PUBLIC SALE OF MASTERPIECES OF ETCHINGS 
FROM THE ESTATE OF THE LATES. S. ROSENSTAMM OF NEW YORK CITY 
TO BE SOLD BY ORDER OF THE EXECUTORS 
L. M. KRAMER, WILLIAM J. WOLLMAN AND L. J. LIPPMANN 


TUESDAY EVENING, JANUARY 27th, 1920, COMMENCING PROMPTLY AT 8:00 O’CLOCK 


CHARLES W. BARTLETT 


Contemporary American Wood Engraver 


BARTLETT, CHARLES W. 
1. Benares. Modern Woodcut. 


Japanese style color-print. Signed in the plate-—C. W. B.—Benares, 
1916, and on lower margin in pencil,—Charles W. Bartlett. 


Height, 11% 3 width, 834 inches. 


BARTLETT, CHARLES W. 
2. BENARES. Modern Woodcut. 
Japanese style color-print. Same inscription as preceding. 
Height, 117%; width, 834 inches. 


BARTLETT, CHARLES W. 
3. Tas Manat, Acra. Modern Woodcut. 


Japanese style color-print. Signed in the plate——C. W. B.—Taj- 
Mahal-Agra, 1916, and on lower margin in pencil,—Charles W. 
Bartlett. 


Height, 1014; length, 15 inches. 


BARTLETT, CHARLES W. 
4, Tag Manat, Acra. Modern Woodcut. 
Japanese style color-print. Same inscription as preceding. 
Height, 1014; length, 15 inches. 


BARTLETT, CHARLES W. 
5. Kyoto. Modern Woodcut. 


Japanese style color-print. Signed in the plate,—C. W. b.—Kyoto, 
1916, and on lower margin in pencil,—Charles W. Bartlett. 


Height, 9; length, 14 inches. 


Sale Tuesday Evening, January 27th 


BARTLETT, CHARLES W. 
6. Kyoro. Modern Woodcut. 
Japanese style color-print. Same inscription as preceding. 
Height, 9; length, 14 inches. 


BARTLETT, CHARLES W. 
%. Miono MatsuBARA. Modern Woodcut. 


Japanese style color-print. Signed in the plate—C. W. B.—Muiono 
Matsubara, 1916, and in pencil on lower margin,—Charles W. 
Bartlett. 


Height, 9; length, 13% inches. 


BARTLETT, CHARLES W. 
8. Miono Matsusara. Modern Woodcut. 
Japanese style color-print. Same inscription as preceding. 
Height, 9; length, 138% inches. 


BARTLETT, CHARLES W. 
9. Dat Laxn, Kasumir. Modern Woodcut. 


Japanese style color-print. Signed in the plate,-—C. W. B.—Dal 
Lake Kashmir, 1916, and on lower margin in pencil,—Charles W. 
Bartlett. 


Height, 1014; length, 1514 inches. 


BARTLETT, CHARLES W. 
10. Dat Laxn, Kasumir. Modern Woodcut. 
Japanese style color-print. Signed as preceding. 
Height, 1014; length, 1514 inches. 


BARTLETT, CHARLES W. 
11. Kosr. Modern Woodcut. 


Japanese style color-print. Signed in the plate,—C. W. B.—Kobe, 
1916, and in lower margin in pencil,—Charles W. Bartlett. 


Height, 9; length, 14 inches. 


BARTLETT, CHARLES W. 
12. Kose. Modern Woodcut. 
Japanese style color-print. Signed as preceding. 
Height, 9; length, 14 inches. 


Sale Tuesday Hvening, January 27th 


BARTLETT, CHARLES W. 
13. Usurpusz. Modern Woodcut. 
Japanese style color-print. Signed in the plate——O. W. B.—Ushi- 
buse, 1916, and on lower margin in pencil,—Charles W. Bartlett. 
Height, 87%; length, 14 inches. 


BARTLETT, CHARLES W. 
14. WatEr- Patace, Uparpur. Modern Woodcut. 
Japanese style color-print. Signed in the plate—C. W. B— 
Udarpur, 1916, and on lower margin in pencil,—Charles W. 
Bartlett. 
Height, 1014; length, 15 inches. 


BARTLETT, CHARLES W. 
15. Water Patace, Uparpur. Modern Woodcut. 
Japanese style color-print. Signed as above. 
Height, 1014; length, 15 inches. - 


BARTLETT, CHARLES W. 
16. Upareur. Modern Woodcut. 
Japanese style color-print. Signed in the plate-—C. W. B.— 
Udaipur, and on lower margin in pencil,—Charles W. Bartlett. 
Height, 834 ; length, 117% inches. 


BARTLETT, CHARLES W. 
17. Uparpur. Modern Woodcut. 
Japanese style color-print. Signed same as preceding. 
Height, 834; length, 117% inches. 


COLORED SPORTING PRINTS 
18. THE First STEEPLE-CHASE ON RecorD. Colored Aquatints. 


Engraved by J. Harris. Drawn by H. Alken. London, Published 
March 1st, 1839, by Ben. Brooks, at his Eclipse Sporting Gallery, 
48 High St., Oxford. 

Together, 4 pieces. Height of each, 1034; length, 141% inches. 
Each Framed. 

The above comprises the series of four handcolored aquatint sporting 
prints illustrative of the first steeple-chase on record. 

PLATE I. IpSwicu, the Watering-place behind the Barracks. Preparing 

to start—All sorts of Odds—The Grey for choice. 
PLATE II. The large field near Biles’s Corner. Whoop! and away !— 
The Major in trouble,—Subden’s linen suffers. 

PLATE III. The last field near Nacton Heath. Accomplished Smashers— 
é arun upon the Bank. 

PLATE IVY. Nacton Church, and Village. The finish—a good five still alive 
—Grand Chorus, “The Lads of the Village.” 


Sale Tuesday Evening, January 27th 


COLORED SPORTING PRINTS 
19. THe Hunt. Colored Aquatints. 

Engraved by F. C. Lewis. Drawn & Etched by H. Alken. 

Together, 8 pieces. Height of each, 12; length, 1914 inches. All 
Framed. Each plate has a wide margin with the engraver’s and 
artist’s names. There is cut-out mat on each which covers the 
entire margins up to the edge of the engraving. ‘The title of 
each shows in the cut-out. 


The complete series of these handcolored aquatint sporting prints, com- 
prising,— 

The Meet; Drawing Cov er ; Snob Is Beat; Tally Ho! and Away; The 
Whissendine Appears in View; Full Cry, Second Horses; The Pace 
Begins to Tell; The Death. 


ILLUMINATED INITIAL 
20. BrBticaL Sussect. Illuminated in Pale and colors. 


The letter “H” in the centre of which is the bust of a Bishop, faken 
from an Lluminated Manuscript. 


Fine specimen of 15th century illumination. 
Height, 4144; width, 414 inches. 


ANDRE SMITH 


Contemporary American Etcher 


SMITH, ANDRE 
21. Brauvats. Drawing in Pencil. 


Signed in pencil at lower left,—Andre Smith, Beauvais, June, 1914. 
Delicately rendered parallel perspective, on warm toned paper. 


Height, 984; width, 714 inches. 


SMITH, ANDRE 
22. Pont Nevr, Paris. Drawing in Pencil. 


FINE DELICATE RENDERING, signed in pencil,—Andre Smith, Parts 
June 4th, 1914, at lower left. 


Height, 93g; width, 534 inches. 


SMITH, ANDRE 
23. Puace DE L’Hotet pr Vinie, AmiENsS. Drawing in Pencil. 


Signed in lower right,—Andre Smith, and in lower left,—Place de 
Hotel de Ville. VERY FINE DELICATE COMPOSITION. 


Height, 634; length, 734 inches. 


Sale Tuesday Evening, January 27th 


SMITH, ANDRE 
24. Sarnt Mactovu, Roven. Drawing in Pencil. 
Signed in lower right,—Andre Smith, 1914, and in lower left,— 
St. Maclou, Rowen. Drawn on warm toned paper, very delicately 
rendered. 


Height, 934; width, 8 inches. 


SMITH, ANDRE 
25. THE INNER GATE, SAN Gimicano. Etching. 


Proor, signed in the plate,—Andre Smith, 1913. FINE IMPRESSION. 
Plate destroyed. 


Height, 1014; width, 78 inches. 


SMITH, ANDRE 
26. THE Moto. Etching. 


ProoF, signed in the plate-——Andre Smith, Venice 1913. FINE 
IMPRESSION, limited edition. 
Height, 7; length, 814 inches. Black frame with gilt inside. 


TIMOTHY COLE 


Contemporary American Wood-engraver 


COLE, TIMOTHY 
27. THe FrLower Girt. Woodcut. 
After Murillo’s painting. Proor, signed in pencil,—Timothy Cole. 
FINE IMPRESSION on rice paper. 
Height, 714; width, 51 inches. 


Si, TIMOTHY 
28. THe Hatt. Woodcut. 
After Morland’s painting in the National Museum au Louvre, Paris. 
Proor, signed in pencil,—Timothy Cole. FINE IMPRESSION, in 
perfect condition, on rice paper. 
Height, 514; length, 63 inches. 


COLE, TIMOTHY 
29. La Maternite. Woodcut. 
After Eugene Carriere’s painting, Luxumberg, Paris. PRroor, 
signed in lower margin,—Timothy Cole. SILVERY IMPRESSION, 
perfect condition, on rice paper. 


Height, 614; length, 8% inches. 


Sale Tuesday Evening, January 27th 


COLE, TIMOTHY 
30. Tuer Prart NECKLACE. Woodcut. 


After Vermeer’s painting. Proor, signed in pencil,—Timothy Cole. 
RIcH IMPRESSION, printed on rice paper, sight tear in upper left 
margin. 

Height, 934; width, 8 inches. 


FRANCESCO PIRANESI 
Italian engraver. Born, at Venice, 1720; died, 1778. 


PIRANESI, FRANCESCO 
31. SceNoGRAPHIA INsuLA TIBERNEA. Engraving. 
Late impression. 
Height, 814; length, 1714 inches. 


a 


HEDLEY FITTON 
Contemporary English Etcher 


Born in 1859. His architectural plates show great decorative power. 


FITTON, HEDLEY 
32. Run Sarnt Romain, Roven. Htching. 
Dunthorne, No. 21. 


Proor, signed in the lower margin,—Hedley Fitton. FINE RICH 
AND CLEAR IMPRESSION. 


Height, 1214 ; length, 1314 inches. Gold Gothic frame. 
This print is possibly dry-stretched in the framing. 


FITTON, HEDLEY 
_ 83. ApvocaTESs CLOSE, EpinpureH. Etching. 
Dunthorne, No. 25. 


Proor, signed in the plate——H. Fitton, and in lower margin, in 
pencil,— Hedley Fitton. FINE IMPRESSION, in perfect condition. 


Height, 103g; length, 1714 inches. Gold Gothic frame. 
This print is possibly dry-stretched in the framing. 


FITTON, HEDLEY 
34. Sarnt EriENNE: Beauvais. Etching. 
Dunthorne, No. 30. 


Proor, signed in the plate,—J. H. H., and in pencil,—Hedley Fitton. 
FINE IMPRESSION, IN PERFECT CONDITION. 


Height, 1734; width, 117% inches. Gold Gothic frame. 
This print is possibly dry-stretched in the framing. 


Sale Tuesday Evening, January 27th 


FITTON, HEDLEY 


35. THe CHURCH OF THE THREE Kines. S. Eminion, GUYENNE. 
Etching. 


Dunthorne, No. 32. 


Proor, signed in the lower margin in pencil,—Hedley Fitton. Very 
CLEAR IMPRESSION, in perfect condition. 


Height, 1214; length, 1334 inches. Gold Gothic frame. 
This print is possibly dry-stretched in the framing. 


FITTON, HEDLEY 
36. Saint ErT1ENNE Lunoces. Etching. 
Dunthorne, No. 34. 
Proor, signed in pencil,— Hedley Fitton. FINE IMPRESSION. 
Height, 1354; length, 1634 inches. Reeded gilt frame. 
This print is possibly dry-stretched in the framing. 


FITTON, HEDLEY 
3%. Rostyn Cuaprt. Etching. 
Dunthorne, No. 36. 


ProoF, signed in the plate, H. F., and in lower margin, in pencil,— 
Hedley Fitton. RicH IMPRESSION, IN PERFECT CONDITION. 


Height, 1634 ; width, 11% inches. Gold Gothic frame. 
This print is possibly dry-stretched in the framing. 


SIR FRANCIS SEYMOUR HADEN 


Eminent English etcher and surgeon. Born at London, 1848; died there in 1910. 
President of the “Royal Society of Painter-Etchers.”’ 


HADEN, SIR FRANCIS SEYMOUR 
38. GRAYLING Fisuine. Mezzotint. 
Harrington, No. 241. 


Proor, signed on lower margin in pencil,— Seymour Haden. FINE 
IMPRESSION, in perfect condition. 


Height, 714; length, 1134 inches. Framed in gilt. 
This plate was awarded a gold medal when first exhibited, Paris. 


WILLIAM AUERBACH LEVY 


Contemporary American Etcher 


LEVY, WILLIAM AUERBACH 
39. THe CapmMan. KEtching. 
Proor, signed in pencil,—William Auerback Levy. FINE IMPRES- 
SION, in perfect condition. Hdition limited. 
Height, 10; width, 7% inches. Black frame. 


Sale Tuesday Evening, January 27th 


LEVY, WILLIAM AUERBACH 
40. THE Capman. Etching. 


Proor, signed in pencil as above. With additional writing on lower 
margin.—Harly proof selected for S. 8. Hosenstam, Weeds is 


Height, 10; width, 77% inches. 


LEVY, WILLIAM AUERBACH 
41. THE Journey’s Env. Etching. 


First state, signed in plate-——W. A. LZ. 1915, and in pencil,— 
William Auerback Levy. FINE IMPRESSION. 


Height, 6; length, 11% inches. 


LEVY, WILLIAM AUERBACH 
42. THE JourNEY’s Enp. Etching. 
First state. Signed as preceding. 
Height, 6; length, 117% inches. 


LEVY, WILLIAM AUERBACH 
43. THe New Tatmoup. Etching. 


First staté. Proor, signed in pencil,—Walliam Auerback I evy, 
1915. BRILLIANT IMPRESSION. RARE. 


Height, 12; width, 10 inches. Black frame. 


LEVY, WILLIAM AUERBACH 
44, Tue Exite. Etching. 
Signed in the plate,—W. A. L., and in lower margin in pencil,— 
William Auerback Levy, 1911. RicH Impression. Only fifty 
proofs taken, and plate destroyed. 
Height, 544; length, 8 inches. Black frame. 


LEVY, WILLIAM AUERBACH 
45, Cecco. Htching. 


Proor, signed on lower margin in pencil,—Wualliam Auerback Levy, 
(1912. FINE Impression. Only fifty proofs taken, and plate 
destroyed. 


Height, 834; width, 514 inches. Black frame. 


Sale Tuesday Evening, January 27th 


LEVY, WILLIAM AUERBACH 
46. MarcHanp D’Hasrr. Etching. 
Proor, signed in plate,—William Auerback Levy, 1918, and in 
pencil,—Walliam Auerback Levy, imp. FINE IMPRESSION. 
Height, 1334; width, 97 inches. 
This plate shows additional work added to the trowsers. 


LEVY, WILLIAM AUERBACH 
4%. Marcuanp D’Hasir. Etching. 


First sTATE, signed in the plate——William Auerback Levy, 1918, 
and in lower margin, in pencil,—William Auerback Levy. FINE 
IMPRESSION, about one-eighth margin at top and sides, and about 
one-quarter inch at bottom. 


Height, 1334 ; width, 97% inches. Black frame. 


LEVY, WILLIAM AUERBACH 
48. THe Sorrse. — Etching. 


Proor, signed in the plate,—William Auerback Levy, 1912, and in 
pencil, on lower margin,—Wdliam Auerback Levy. FINE IM- 
PRESSION. | 

Height, 714; length, 10 inches. Black frame. 


LEVY, WILLIAM AUERBACH 
49. Morxe. Etching. 
Proor, on Japan paper, signed in pencil,—Second Proof. Wallvam 
Auwerback Levy, imp. FINE IMPRESSION. 
Height, 6; length, 834 inches. 


LEVY, WILLIAM AUERBACH 
50. Tue PatrrarcH’s Prayer. Etching. | 
Proor, signed in pencil,— William Auerback Levy, imp. 1914. RicH 
CLEAR IMPRESSION. Only fifty impressions taken, and plate de- 
stroyed. 
Height, 10; width, 7% inches. Black frame. 


LEVY, WILLIAM AUERBACH 
51. Farruruyt. Etching. 
Proor, signed in lower margin in pencil,—first state, William 
Auerback Levy, vmp 16. RICH CLEAR IMPRESSION. 
Height, 7; length, 97% inches. Black frame. 


Sale Tuesday Evening, January 27th 


ALBRECHT DURER 


Born, Niirnberg in 1471; died there 1528. He was of Hungarian de- 
scent; his father coming from the little village of Eytas in Hun- © 
gary. In 1486, Albrecht entered the studio of Michael Wolgemut, 
the best Niirnberg painter of the day. He worked there four 
years, and then spent several others traveling about, probably for 
the most part in Germany. During this time he visited Colmar in 
order to see Martin Schongauer, only to find that the great master 
had died shortly before. He return to Niirnberg in 1494, and his 
works from that date until 1505 belong to what is called his First 
Period. 


In the autumn of 1505, Diirer undertook a journey to Venice. With 
his return in 1507 begins the Second Period of his work, and in 
it the influence of the art of Italy can be distinctly traced. 


In 1520-1521, Diirer was in the Netherlands and the works from that 
time until his death in 1528 comprised the Third Period of his 
work. 


“Albrecht Diirer fills a large space in the history of art. So far as 
Germany is concerned, he is facile princeps, unrivalled even.in his 
own age by so great an artist as the younger Hans Holbein, and 
towering above all his successors, no one of whom can raise a 
head high enough to look him in the face . . . Although it would 
seem that it was Diirer’s ambition to excel as a painter, it is as 
an engraver that he has won his fame, and taken so sympathetic 
a grasp of the human heart.”—LionreL Cust. 


[The prints in this collection described as with frames are all loosely 
hinged with adjustable backs. ] 


DURER, ALBRECHT 
52. Saint JOHN HOLDING THE SEVEN GOLDEN Caxpreeaee Woodcut. 
Bartsch, No. 62. 
First staTE. EXTREMELY FINE IMPRESSION, perfect condition. 


With the German text on the reverse side. From the series of the 
Apocalypse. 


Height, 1514; width, 114, inches. 
From the Liphart collection. 


DURER, ALBRECHT 
53. THE SEVEN ANGELS witH TRUMPETS. Woodcut. 

Bartsch, No. 68. 

First sTaTE. EEXTREMELY FINE IMPRESSION, in perfect condition. 

Height. 1514; width, 111% inches. 

With the German text on the reverse side. From the series of the 
“Apocalypse.” 

From the Liphart collection. 


ALBRECHT DURER 
The Virgin with a Monkey 
[No. 60] 


Sale Tuesday Evening, January 27th 


DURER, ALBRECHT 
54. Saint JoHN EHatine THE Boox. Woodcut. 
Bartsch, No. 70. 
First state. EXTREMELY FINE IMPRESSION, 10 perfect condition. 
Height, 1514; width, 1114 inches. Black frame. 


From the series of the “Apocalypse.” With the German testt' on the 
reverse side. A duplicate from the Berlin Museum. 


DURER, ALBRECHT 
55. THe Dragon with SevEN Heaps. Woodcut. 
Bartsch, No. 
FIRST STATE. ee FINE IMPRESSION. ‘Two thin places at 
lower left corner, otherwise in perfect condition. 
Height, 155g; width, 1114 inches. Black frame. 


From the series of the “Apocalypse.” With the German text on the 
reverse side. A duplicate from the Berlin Museum. 


DURER, ALBRECHT 
56. THs ANGEL WITH THE KEY OF THE Eine Woodcut. 
Bartsch, No. 75. 


Apparently a proof before the text on the reverse side. VERY FINE 
IMPRESSION, without water-mark. IN PERFECT CONDITION. 
Height, 1514; width, 11 inches. Black frame. 


From the series of the “Apocalypse.” 


DURER, ALBRECHT 
57. TweELVE PLATES FROM SMALL PAssIONS ON CopPpER. ENGRAVINGS. 
Bartsch. Numbers, as given below. 


ALL FINE IMPRESSIONS, and with the exception of three thin spots, 
in perfect condition. 


Height of each, 434; width, 3 inches. Framed with Imperial Jap- 
anese covered mats. ‘Together, 12 pieces in three frames. 


EACH ONE BEARS THE STAMP OF THE FRITZ RUMPH COLLECTION. 


LIST OF ABOVE ENGRAVINGS 


(1) Tur Man oF Sorrows. Bartsch, No. 3. 

(2) Cirrist ON THE Mount or Otives. Bartsch, No. 4. 

(3) CHrist TAKEN BY THE JEWS. Bartsch, No. 5. 

(4) CHrist Brerorr CarapHas. Bartsch, No. 6. 

(5) CuHrist Brerore Pinate. Bartsch, No. 7. 

(6) CHRIST CROWNED witH THORNS. Bartsch, No. 9. Signed on 
back,—T.. Mariette, 1668. About half of this signature is missing. 

(Continued 


CHT DURER 


ALBRE 
nance of 


ostom 


t John Chrys 
62] 


ain 


NS) 
[ No. 


e 


The Pe 


Sale Tuesday Evening, January 27th 


[No. 57—Continued | 


caused by a small portion of back layer of the paper having been 
torn off, 


“ALL PRINTS SIGNED MARIETTE ARE USUALLY VERY FINE IMPRESSIONS.”’— 
M. A. Hird. This remark applies to the front surface of the above. 


(7) CHrRIst BEFORE THE PEOPLE. Bartsch, No. 10. Signed on the 
back,—T. Mariette, 1668. 


(8) PrratrE Wasuinc His Hanns. Bartsch, No. 11. 
(9) CHRIST ON THE Cross, Bartsch, No. 138. 

(10) THE ENToMBMENT, Bartsch, No. 15. 

(11) THe Resurrection. Bartsch, No. 17. 


(12) Sr. Prerer anp St. JoHN HEALING THE LAME. Bartsch, No. 18. 
This last print is considered one of the series, although not offi- 
cially catalogued as such. 


DURER, ALBRECHT 
58. THE VIRGIN witH SHorT Harr. Engraving. 
Bartsch, No. 38. 


Signed in the plate-—A. D. 1514. BEAUTIFUL SILVERY IMPRESSION, 
in perfect condition, about one-sixteenth inch margin, all around 
outside of the plate-mark. 


Height, 434; width, 31, inches, Black frame. 


DURER, ALBRECHT 
59, THE Virnain Crownep By Two AncgEts, Engraving. 
Bartsch, No. 39. 


BEAUTIFUL SILVERY IMPRESSION, IN PERFECT CONDITION, about one- 
eighth inch margin all around outside of plate-mark. 


Height, 6; width, 41% inches. Black frame. 


DURER, ALBRECHT 
60. THE Vircin witH A Monxery. Engraving. 
Bartsch, No. 43. 


Signed in the plate——A. D. EXTREMELY FINE IMPRESSION. There 
are two faint stains in upper portion of print. Bull’s head water- 
mark in the paper. 


Height, 714; width, 434 inches. Black frame. 


From the Collections of J. Peoli, Firmin-Didot, Robert Hoe, and 
Montague Flagg. 


[See Illustration | 


ALBRECHT DURER 
The Rape of Amymone 
[No. 63] 


Sale Tuesday EHvenng, January 27th 


DURER, ALBRECHT 
61. Saint Hupert. Engraving. 
Bartsch, No. 5%, 


Signed in the plate,—A. D. VERY FINE RICH IMPRESSION, on high 
crown paper, cut all around close to plate mark. 


Height, 1334; width, 1014 inches. 


This print has a sharp fold across the middle, which is very evident 
on the back, but scarcely noticeable on the face of Das otherwise 
in good condition. 


From the Baldinger collection. 


DURER, ALBRECHT 
62. THE PENANCE oF Saint JoHN CHrRysostom. Engraving. 
Bartsch, No. 63, 


EXTREMELY RICH IMPRESSION, with water-mark of the two towers, 
cut just outside plate line. 


Height, 7; width, 45g inches. Black frame. 


A duplicate from the Dresden Museum, and from the collection of 
R. Scholtz. 
[See Illustration ] 


DURER, ALBRECHT 
63. THe Rape or AMyMoneE. Engraving. 
Bartsch, No. 71. 


Signed in the plate,—A. D. EXTREMELY FINE IMPRESSION, in per- 
fect condition. 


Height, 9 13-16; width, 7 7-16 inches. Black frame. 
From the Scholtz and Galichon collections. 


[See Illustration | 


DURER, ALBRECHT 
64. THE Errects or JEALousy. Engraving. 
Bartseh, No. 73. 


, with the High 
crown water-mark in the paper. In perfect condition. Trimmed 
just outside line bordering the engraved composition. 


Height, 1254; width, 834 inches. Black frame. 


— 
-_ 
=a 
re 
aes, 
rad) 
eo 
. Ag 
Ome 
Ha SO 
ma6 
Se! 
Se 
eA 
ees 
Pes 
4 


io 
< 
1g 


Kn 


Sale Tuesday Evening, January 27th 


DURER, ALBRECHT 
65. MELANCHOLIA. Engraving. 
Bartsch, No. 74. ; 
Signed in the plate——A. D. 1514. Fine Impression, in perfect 
condition, cut on the line bordering the engraved composition. 
Height, 93¢; width 7 5-16 inches. 
As usual, this print bears no water mark. 


DURER, ALBRECHT 
66. Tur Dream. Engraving. 
Bartsch, No. 76. 
EXTREMELY FINE IMPRESSION, cut to plate, in perfect condition. 
Height, 73g; width, 434 inches. Black frame. 
British Museum duplicate. 


DURER, ALBRECHT 
67. Tur THree Peasants. Engraving. 
Bartsch, No. 86. 


Signed in the plate——A. D. VERY FINE IMPRESSION, in perfect con- 
dition, cut to plate-mark at bottom and right, cut just inside 
plate-mark at top and left. 


Height, 4144; width, 3 inches. Black frame. 
From the Scholtz collection. 


DURER, ALBRECHT 
68. THe GreAT Horse. Engraving. 
Bartsch, No. 97. 


Signed in the plate,—4. D. 1505. VERY FINE IMPRESSION, margin 
at top and sides, very narrow, one-eighth at bottom. There is a 
slight fold across the middle of print, which does not detract from 
the beauty of the impression. 


Height, 65g; width, 484 inches. Black frame. 
From the Schlosser collection. 


DURER, ALBRECHT 
69. Kniaut, DEATH, AND THE Devin. Engraving. 
- Bartsch, No. 98. 

Signed in the plate-—A. D. 1513. VERY FINE IMPRESSION, in per- 
fect condition. There is a narrow margin bordering the engraved 
composition. 

Height, 95g; width 711/16 inches. Black frame. 

From the collection of G. Storch of Milan. 


[See Illustration ] 


REMBRANDT VAN RIJN 
Christ in the Garden of Olives 
[No. 76] 


Sale Tuesday Evening, January 27th 


REMBRANDT VAN RIJN 


Born, Leyden, 1607; died, Amsterdam, 1669. Pupil of Swanenburch 
and Pieter Lastman. “The opinion among etchers which en- 
thrones Rembrandt as the King of his craft is the most recent 
instance of perfect unanimity among people of all nationalities. 
As we all say Phidias was the greatest sculptor, Homer the great- 
est epic poet, and Shakespeare the greatest dramatist, so we are 
all agreed on the world-wide supremacy of Rembrandt. In his 
own lines of work there is no one in all history to be compared 
with Rembrandt; in artistic influence he has one equal entirely 
unlike himself; and that is Raphael. They are the two most in- 
fluential graphic artists of all time.’—P. G. HAMERTON. 


[The Rembrandt prints in this collection described as with frames are all 
loosely hinged with adjustable backs. ] : 


REMBRANDT VAN RIJN 
70. REMBRANDT Drawine. LHtching. 
Rovinski, No. 22. 


HIGHTH STATE OF TEN. ProoF; signed in the plate-——Rembrandt 
1648. RIcH AND BRILLIANT IMPRESSION, full of burr, in perfect 
condition, very narrow margin all around outside of plate-mark. 


Height, 614; width 514 inches. 


REMBRANDT VAN RIJN 
71. ABRAHAM SENDING Away Hacar. Etching. , 
Rovinski, No. 30. 


ONLY STATE. FINE IMPRESSION, in perfect condition, about one- 
quarter inch margin all around outside plate-mark. 


Height, 43g; length, 57/16 inches. Black frame. 


REMBRANDT VAN RIJN 
72. ABRAHAM TALKING To Isaac. Etching. 
Rovinski, No. 34. 
Proor, signed in the plate,—Rembrandt 1645. FINE IMPRESSION, 
in perfect condition, showing a narrow margin all around. 
Height, 644; width, 54% inches. Black frame. 
Berlin Museum duplicate, also from the collection of Theobald. 


REMBRANDT VAN RIJN 
73. ANGELS ANNOUNCING THE BirTH or Curist. Etching. 
Rovinski, No. 44. 
THIRD STATE OF FOUR. Signed in the plate——Rembrandt 1634. 


EXTREMELY FINE IMPRESSION, in perfect condition, about one 
sixteenth margin all around outside plate mark. 


Height, 1014; width, 811/16 inches. Black frame. 
This impression shows the distant landscape clearly. 


Mies 


; 
RL 
he 


REMBRANDT VAN RIJN 
Descent from the Cross 
[No. 78] 


Sale Tuesday Evening, January 27th 


REMBRANDT VAN RIJN 
"4, CHrist DRIVING THE Money CHANGERS. OUT OF THE TEMPLE. 
Etching. 


Rovinski, No. 69. 


First STATE OF THREE. Signed in the plate-—Rembrandi 1635. 
BRILLIANT IMPRESSION, in perfect condition, very narrow mar- 
gin all around. Yo 


Height, 534 ; lenipthy 6 34 mcbes Black frame. 


REMBRANDT VAN RIJN 
”5. Curist DRIVING THE MonEY CHANGERS OUT OF THE TEMPLE. 
Etching. 


Rovinski, No. 69. 

FIRST STATE. FINE IMPRESSION. 
Height, 53g; width, 634 inches. 

From the Tracy Dow’s collection. 


REMBRANDT VAN RIJN 
76. CHRIST IN THE GARDEN OF OLIvEs Etching. 
Rovinski, No. 75. 


ONLY STATE, signed in plate-—Rembrandt. SUPERB IMPRESSION, 
showing one-eighth margin all around. 


Height, 4144; width, 314 inches. Black frame. 
[See Illustration | 


REMBRANDT VAN RIJN 
77. Curist CruciFIED BETwEEN Two TuiEves. An Ova. Etching. 
Rovinski, No. 79 


First STATE OF TWO. EXTREMELY FINE IMPRESSION, in perfect 
condition. Wide square margin with corners slightly clipped. 


Height, 6; width, 452 inches. Black frame. 
From the Arozarena, and Schindler collections. 


REMBRANDT VAN RIJN 
78. DESCENT FROM THE Cross BY TorRcHLIGHT. Etching. 
Rovinski, No. 83. 
FIRST STATE OF TWO, signed in the plate——Rembrandt 1654. Ricu 
AND BRILLIANT IMPRESSION, in perfect condition, showing about 
one-eighth margin all around. 


Height, 814; width, 614 inches. Black frame. 
[See Illustration ] 


[#8 “ON] 
-UBUIYITIA GIA odvospue’y 


Nfld NVA LONVUAWNAS 


SO 


Stine Gigs 


Sale Tuesday Evening, January 27th 


REMBRANDT VAN RIJN 
?9. Curist aT Emmaus. Etching. 

Rovinski, No. 87, 

SECOND STATE OF Two, signed in the plate——Rembrandt F 1634. 
EARLY IMPRESSION with considerable burr throughout the plate. 
Slight tear about one inch long in lower right corner, neatly re- 
paired, otherwise in perfect condition, showing about one-eighth 
inch margin all around outside of plate. 

Height, 854; width, 6% inches. Neatly framed. 


REMBRANDT VAN RIJN 
80. THe DEATH OF THE VIRGIN, Etching. 
Rovinski, No. 99; 
FINAL STATE OF THREE, signed in the plate——Rembrandt, 1639. 
VERY FINE IMPRESSION, in perfect condition. Narrow margin at 
top and sides, about. 5¢-inch on bottom. 
Height, 1614; width, 1214 inches, Black frame. 


REMBRANDT VAN RIJN 
81. Woman Preparine To Dress ArreR BaTuHine. Htching. 
Rovinski, No. 199. 
SECOND STATE OF Two, signed in the plate,—Rembrandt 1658. Ex- 
TREMELY FINE IMPRESSION, in perfect condition, on Japan Paper, 
narrow margin almost all around the plate. 


Height, 614; width, 514 inches. Black frame. 
From the Von Lanna, and Tetlow collection. 


REMBRANDT VAN RIJN 
82. Srx’s Bripez. Etching. 
Rovinski, No. 208. 
THIRD STATE OF FOUR, signed in the plate,—Rembrandt 1645. 
VERY FINE IMPRESSION, perfect condition, very narrow margin 
all around outside plate-mark. 
Height, 514; length, 8% inches. Black frame. 


REMBRANDT VAN RIJN 
83. VIEW oF AMSTERDAM. Etching. 
Rovinski, No. 210. 


FINE IMPRESSION, with about one-half inch margin all around, in 
perfect condition. 


Height, 514; width, 4384 inches. Black frame. 


[gs “ON] 
PPLT SioysPoaMplopy omnL 
NfId NVA LONVAAWAY 


Sale Tuesday Evening, January 27th 


REMBRANDT VAN RIJN 
84. LanpscAPE witH A Mitkman. Etching. 
Rovinski, No. 213. 


SECOND STATE OF TWO. BEAUTIFUL IMPRESSION, full of burr, thin 
spots at lower corner, margin trimmed outside of plate-mark. 


Height, 254; length, 6% inches. Black frame. 
From the Richard Fischer collection. 
[See Illustration] 


REMBRANDT VAN RIJN 
85. THE GoLpWEIGHERS Frenup. Etching. 

Rovinski, No. 234. 

ONLY STATE, signed in the plate-——Rembrandt 1651. ExTREMELY 
FINE IMPRESSION, about one-eighth inch margin all around out- 
side of plate-mark, slight paper fold traverses print from top to 
bottom, but does not detract from the beauty of the impression. 

Height, 4%; length, 1234 inches. Neatly framed. 

From the collections of De Festetics, Chambers Hall, and Theodore 
Irwin. 

This is considered by many connoisseurs Rembrandt’s most beautiful 
landscape. 

[See Illustration ] 


REMBRANDT VAN RIJN 
86. Doctor Faustus. Etching. 

Rovinski, No. 270. 

SECOND STATE OF FOUR. EXTREMELY FINE IMPRESSION, perfect 
condition, showing about one 14 inch margin all around, outside 
platemark. 

Height, 85; width, 65g inches. Black frame. 


From the Fritz Rumpf collection. 


REMBRANDT VAN RIJN 
87%. CLEMENT DE JoNGHE. Etching. 
Rovinski, No. 272. 


THIRD STATE OF SIX, signed in the plate,—Rembrandt. IMPRESSION 
OF GREATEST BEAUTY, in perfect condition, very narrow margin all 
around outside of plate-mark. 


Height, 814; width 61% inches. Black frame. 
From the collection of Henri le See des Tournelles. 


[See Illustration | 


VAN RIJN 


REMBRANDT 


ghe 


Clement de Jon 


87] 


[N 


Sale Tuesday Evening, January 27th 


REMBRANDT VAN RIJN 
88. ABRAHAM FRANCE. Etching. 
Rovinski, No. 273. 


SIXTH STATE OF NINE. SUPERB IMPRESSION, on Japan paper, in 
perfect condition, showing about one-eighth inch margin all 
around. 


Height, 61¢; length, 83 inches. Black frame. 
From the Theobold collection. 


REMBRANDT VAN RIJN 
89. EpHraim Bonus. Etching. 
Rovinski, No. 278. 


SECOND STATE OF Two, signed in the plate-——Rembrandt 1647. 
SUPERB IMPRESSION, in perfect condition, cut all around just on 
plate line. 


Height, 97/16; width, 615/16 inches. Black frame. 


From the collections of de la Motte Fouque, Alferoff Straeter, and 
Marsden J. Perry, 


REMBRANDT VAN RIJN 
90. BurGOMASTER JAN Six. Etching. 
Rovinski, No. 285. 
THIRD STATE OF FOUR, signed in the plate——Rembrandt 1647. FINE 


IMPRESSION, in perfect condition, about one-sixteenth inch margin 
all around outside of plate-mark. 


Height, 954; width, 734 inches. Black frame. 


REMBRANDT VAN RIJN 
91. Otp Man witH Larce WHITE Bearp. Etching. 
Rovinski, No. 307. 


FIRST STATE OF TWO, signed in the plate,—At 1630, FINE IMpREs- 
SION, in perfect condition, showing about one-eighth inch all 
around. 


Height, 434; length, 35g inches. Black frame. 


REMBRANDT VAN RIJN 
92. OLD Man, witH A Ricw VEtvEeT Cap. Etching. 
Rovinski, No. 313. 


ONLY STATE, signed in the plate-——Rembrandt 1637. ExTREMELY 
FINE IMPRESSION, in perfect condition, showing about one-sixteenth 
inch margin all around. 

Height, 3%; width, 33g inches. Black frame. 


From the Kalle, and Von Lanna collection. 


Sale Tuesday Evening, January 27th 


REMBRANDT VAN RIJN 
93. THE GREAT JEWISH Brine. Etching. 
Rovinski, No. 340. 


FINAL STATE OF FOUR. Signed, R. 1634. FINE IMPRESSION, in per- 
fect condition, narrow margin all around outside the plate mark. 

Height, 814; width, 614 inches. Black frame. 

From the Boehm collection. 


REMBRANDT VAN RIJN 
94. Rempranpi’s Moruer, Turnep to Lerr. Etching. 
Royinski, No. 344. 


SECOND STATE OF TWO, signed in the plate,—Rembrandt. FINE IM- 
PRESSION, in perfect condition, with about one-sixteenth margin 
all around. 


Height, 6144; width, 434 inches. Black frame. 


ANDERS ZORN 


Swedish painter and etcher. Born at Mora in Dalecarlia in 1860. 
“But it is in his etchings that the art of Anders Zorn is seen in 
its highest vigor, creativeness and sureness of hand, whether these 
etchings be done directly from nature or are transcriptions of his 
masterly paintings. Lines apparently scribbled at random, and 
which might seem to harshly gash the copper-plate, result in a 
whole, which is strong, clear, and vivid, and the etchings present 
picture expressing the most delicate and fleeting phases of ex- 
pression and gesture.”—HeEnrri MARCEL. 


[The Zorn prints described in this collection as with frames are all loosely 
hinged with adjustable backs. | 
ZORN, ANDERS 
95. AxpL Herman Hata. Etching. 

Delteil, No. 17—1884. 

First sTATE OF TWo. Proor, signed,—Zorn, 84., and on lower 
margin in pencil,— Zorn. FINE RICH IMPRESSION, on Japan paper. 
There were only twenty-five proofs printed, covering all states, 
the plate destroyed. OF THE GREATEST RARITY. 

Height, 1514; width, 1014 inches. 


ZORN, ANDERS 
96. Rostra Mauri. Etching. 
Delteil, No. 34—1889. 


THIRD STATE. Proor, signed in the plate,—Zorn, 89, and on lower 
margin in pencil,—Zorn. CLEAR BRILLIANT IMPRESSION, on Van 
Gelder Zonen paper, in perfect condition. 


Height, 934; width, 61g inches. 


Sale Tuesday Evening, January 27th 


ZORN, ANDERS : 
97%. Porrrair or THE Artist AND His Wire. Etching. 
Delteil, No. 42—1890. 


SECOND STATE OF Two. PRrooF, signed in the plate-—Zorn, and on 
lower margin in pencil,—Zorn. FINE BRILLIANT IMPRESSION, on 
Imperial Japan paper. About forty or fifty impressions printed, 
plate destroyed. 

Height, 1214; width, 814 inches. Guilt frame. 


[See Illustration ] 


ZORN, ANDERS 
98. Mapame ARMAND Dayor. Etching. 
Delteil, No. 47—1890. 


First sTtaTH OF Two. Signed on lower margin,—Zorn first state two 
proofs. VERY RICH AND BRILLIANT IMPRESSION, on Van Gelder 
Zonen paper. Of the utmost rarity. } 

Height, 814 ; width, 534 inches. 

AS ONE OF THE TWO EXISTING PROOFS of the first state, of this beau- 


tiful portrait, it takes rank as a Zorn etching of the very first 
importance. 


From the Strolin collection. 


ZORN, ANDERS 
99. J. B. Faure. Etching. 
Delteil, No. 52—1891. 


THIRD STATE OF THREE. Proor, signed in the plate-——Zorn 1891, 
and on lower margin in pencil,—Zorn. CLEAR DELICATE IMPRES- 
ston, on Dutch paper, in perfect condition. About twenty proofs 
were printed, and the plate destroyed. 

Height, 93g; width, 63g inches. 

From the Strolin collection. 


ZORN, ANDERS 
100. Sarnt Ives, “Le Precueur.” Etching. 

Delteil, No. 53—1891. 

SECOND STATE OF TWO. PRrooF, signed in the plate-—Zorn 1891, 
and on lower margin in pencil,—Zorn. FINE CLEARLY PRINTED 
IMPRESSION. There were about twenty or thirty impressions 
printed, and the plate destroyed. 

Height, 10%; width, 734 inches. 


ANDERS ZORN 
Portrait of the Artist and his Wife 
[No. 97] 


Sale Tuesday Evening, January 27th eli 


ZORN, ANDERS 
101. Tor Waurz. Etching. 
Delteil, No. 54—1891. 


FINAL STATE OF THREE, signed in the plate,—Zorn 1891, and in 
pencil on lower margin,—Zorn. VERY FINE IMPRESSION, on 
Dutch paper. Only forty impressions taken, and plate destroyed. 


Height, 1214; width, 85¢ inches. Guilt frame. 


ZORN, ANDERS 
102. “La DaME A LA CIGARETTE.” “MADEMOISELLE X.” Htching. 

Delteil, No. 62—1891. 

SECOND PLATE. First sTaTE, signed in pencil—Zorn. BRILLIANT 
IMPRESSION. There were about twenty-five or thirty proofs taken, 
and plate destroyed. | 

Height, 614; width, 45g inches. Gilt frame. 


[See Illustration | 


ZORN, ANDERS 
103. “L?Oracs.” Etching. 
Delteil, No. 63—1891. 


FINAL STATE OF FOUR, signed on lower margin in pencil,—Zorn. 
FINE BRILLIANT IMPRESSION, on Van Gelder Zonen paper, in per- 
fect condition. Only about thirty impressions printed, and plate 
destroyed. é 


Height, 734; width, 584 inches. 


ZORN, ANDERS 
104. Le Reveiz. Htching. 
Delteil, No. 64—1891. 


SECOND STATE, signed in pencil,—Zorn, CLEAR DELICATE IMPRES- 
ston, on Dutch paper, in perfect condition. There were about 
thirty impressions printed, and the plate destroyed. 


Height, 53g; width, 4 inches. 


ZORN, ANDERS 
105. MapAME Simon. Etching. 
Delteil, No. 66—1891. 


SECOND PLATE. FourtTH sTaTE. Proor, signed in the plate,—Zorn, 
and in pencil,—Zorn. EARLY AND VERY FINE IMPRESSION, in per- 
fect condition. 

Height, 914; width, 614 inches. 

About thirty proofs were printed, before the plate was published in 
“Pan” the German paper. The plates printed in “Pan” did not 
bear the signature of Zorn. 


From the Petitdidier collection. 


9%? 


selle X. 


“Mademoi 


2] 


ORN 


SZ 
arette— 


1g 
[No. 10 


ANDER 


ala C 


La Dame 


Sale Tuesday Evening, January 27th 


ZORN, ANDERS 
106. Les Jovrturs D’EcuEc. Etching. 
Delteil, No. 67—1891. 
OnLy sTATE. Proor, which, however, does not bear Zorn’s signature. 
FINE IMPRESSION. There were only six impressions of this plate — 
taken before the plate was LESSEE EXTREMELY RARE. 


Height, 514; width, 4 inches. 


ZORN, ANDERS 
107. EN Omnisus. Etching. 
Delteil, No. 71—1891. 


FINAL STATE OF THREE. Signed on lower margin in pencil,—Zorn. 
FINE BRILLIANT IMPRESSION, on Van Gelder Zonen paper. About 
seventy-five impressions taken in all, and plate destroyed. 


Height, 11; width, 734 inches. 
[See Illustration | 


ZORN, ANDERS 
108. Ernest Renan. Etching. 
Delteil, No. 72—1892. 


FINAL STATE OF FIVE, signed in the plate,—Zorn 1892, and on lower 
margin in pencil, —Zorn. BRILLIANT IMPRESSION. There were 
about one hundred impressions taken in all, and the plate de- 
stroyed. 


Height, 9; length, 1314 inches. Gilt frame. 
[See Illustration ] 


ZORN, ANDERS 
109. Mapame Oued Bratt. Etching. 
Delteil, No. 78—1892. 


SECOND STATE OF Two. Proor, signed in the plate,—Zorn 1892, 
and in pencil on lower margin,—Zorn. VERY BRILLIANT IMPRES- 
sIonN, on Van Gelder Zonen paper, in perfect condition. Rares. 


Height, 734; width, 514 inches. 


ZORN, ANDERS 
110. La Lecturr—Mr. ann Mrs. CHARLES DEEriNe. Etching. 
Delteil, No. 78—1893. 
FINAL STATE OF THREE. Proof, signed in pencil,—Zorn. Brit- 
LIANT IMPRESSION, on Dutch paper, in perfect condition. There 
were about forty impressions taken, and plate destroyed. 
Height, 914; width, 61% inches. 


ZORN 
ibus 
107] 


ANDERS 


En Omn 


[No. 


Sale Tuesday Evening, January 27th 


ZORN, ANDERS 
111. Tur Toast. Etching. 
Delteil, No. 80—1893. 


SECOND PLATE. FINAL STATE OF FOUR, signed on lower margin in 
pencil,Zorn. BRILLIANT IMPRESSION, in perfect condition. 
There were about seventy proofs taken, and the plate destroyed. 


Height, 1214; width, 1014 inches. Gilt frame. 
[See Illustration | 


ZORN, ANDERS 
112. Henry Marquanp. Etching. 
Delteil, No. 81—1893. 


ONLY STATE, signed in the plate,—Zorn 1893, and on lower margin 
in pencil—Zorn. BRILLIANT IMPRESSION, on Dutch paper, in 
perfect condition, 


Height, 10%; width, 7384 inches. 
[See Illustration ] 


ZORN, ANDERS 
113. L’?IRLANDAISE, ALSO CALLED “ANNIE.” Etching. 

Delteil, No. 84.—1894. 

ONLY sTATE. Proor, signed on lower margin in pencil,—Zorn, and 
in the plate——Zorn 1894. N.Y. HEXTREMELY FINE IMPRESSION. 
There are only about 30 impressions of this plate. 

Height, 11; width, 7% inches. 

[See Frontispiece for Illustration | 


ZORN, ANDERS 
114. Sunpay Mornine In Datarne. Etching. 
Delteil, No. 85—1894. 
SECOND STATE OF TWO. ProorF, signed in pencil—Zorn. FINE RICH 


IMPRESSION, in perfect condition. About twenty-five proofs were 
printed, and the plate destroyed. 


Height, 107%; width, 77% inches. 
ZORN, ANDERS 
115. My Mopget anp My Boat. Etching. 
Delteil, No. 90—1894. 


THIRD STATE OF FOUR, signed in pencil,—Zorn. UNUSUALLY RICH 
proor, on Dutch paper, in perfect condition. About twenty-five 
proofs exrst, plate destroyed. 


Height, 914; width, 614 inches. 
From the Pierre Lorillard collection. 
[See Illustration | 


f 


[80T ON] 
uBUOY JSIUIG 


NUOZ SYUMAUNV 


Sale Tuesday Evening, January 27th 


ZORN, ANDERS 
116. M. er Mug. Pontus FursteNnserG. ALSO cALLED “A SwerpisH CoL- 
LECTOR, AND His Wire.” Etching. 


Delteil, No. 96—1895. 


FINAL STATE OF THREE. Signed on lower margin in pencil,—Zorn. 
FINE RICH IMPRESSION, on warm Dutch paper, in perfect condi- 
tion. Rare. , 


Height, 77%; length, 11 inches. 


ZORN, ANDERS 
117. Ausert Brsnarp AND His Mops. Etching. 
Delteil, No. 103—1896. 


ONLY STATE. Proor, signed in pencil.—Zorn. VERY BRILLIANT 
IMPRESSION, on Dutch paper, in perfect condition. There were 
only about twenty wmpressions printed from thas plate. 


Height, 914; width, 614 inches. 


ZORN, ANDERS . 
118. MapamsE Grrpa Haarore. Etching. 
Delteil, No. 104—1896. 


FIRST STATE OF TWO, UNIQUE PROOF, signed in pencil,—Zorn, with 
inscription in pencil on lower margin. RICH AND BRILLIANT IM- 
PRESSION on Van Gelder Zonen paper. HXTREMELY RARE. 


Height, 98g; width, 614 inches. 
The first state is described by Delteil as being extremely rare. 


ZORN, ANDERS 
119. BatanEusE DE Dos. “Eventna.” Etching. 
Delteil, No. 108—1896. 


THIRD PLATE. SECOND STATE OF Two. ProoF, signed in plate,— 
Zorn 1896, and on lower margin in pencil,—Zorn. FINE DELICATE 
IMPRESSION, on Dutch paper, in perfect condition. There were 
only eleven or twelve impressions taken, before this beautiful plate 
was destroyed. | 

Height, 914; width, 614 inches. 


ZORN, ANDERS _ 
120. Saint GaupENS AND His Mops. Etching. 
Delteil, No. 111—1897. 


ONLY STATE, signed in pencil on lower margin,—Zorn. FINE IM- 
PRESSION. 


Height, 514; width, 714 inches. Gilt frame. 


ANDERS ZORN 
The Toast 
[No. 111] 


.Sale Tuesday Evening, January 27th 


ZORN, ANDERS 
121. Auaustus Saint Gaupens. Etching. 
Delteil, No, 112—1897. 


SECOND staTE. Proor, signed in the plate,—Zorn, and in pencil,— 
Zorn, FINE IMPRESSION, on Dutch paper. 


Height, 77%g; width, 544 inches. Gilt frame. 


ZORN, ANDERS 
122. Kine OscaR THE SECOND OF SWEDEN. Etching. 
Delteil, No. 130—1898. 


SECOND PLATE. SECOND STATE OF Two. Proor, signed on lower 
margin, in pencil_—Zorn. BRILLIANT IMPRESSION. 


Height, 934; length, 7 inches. Gilt frame. 
This proof bears a dedication in his writing. 


ZORN, ANDERS 
123. Miss Maup Casset. Etching. 
Delteil, No. 157—1898. 


THIRD STATE OF TWO, signed in the plate——Zorn London 1898, and 
on lower margin in pencil,—Zorn. FINE IMPRESSION with con- 
siderable tone left on plate, on Van Gelder Zonen paper, in perfect 
condition. About eighteen or twenty wmpressions taken, and the 
plate destroyed. 


Height, 7; width, 5 inches. 


ZORN, ANDERS 
124. Paris, Erret p—E Nuir. Etching. 
Delteil, No. 140—1898. 


THIRD PLATE. SECOND STATE OF TWO. Signed on lower margin in 
pencil Zorn. FINE IMPRESSION, on warm Dutch paper, in per- 
fect condition. There were siateen or seventeen proofs printed, 
and the plate destroyed. VERY RARE. : 


Height, 914; width, 63g inches. 


ZORN, ANDERS 
125. ZorN AND His Moper. Etching. 

Delteil, No. 148—1899. 

SECOND PLATE. SIXTH STATE. Proor, signed in plate,—-Zorn 
1899, and in pencil,—Zorn. VERY RICH IMPRESSION, on Dutch 
paper. 

Height, 934; width, 7 inches. Guilt frame. 

This is the actual impression described by Delteil in his catalogue. 

From the collections of Petitdidier, and Wallace de Wolf. 


ZORN 


ses 


De La C8 & Lae ih ES ap Smee era 
i Af 2 Bes 23 oe ee opm 
i o alli se 
: op 


112] 


Henry Marquand 
[No. 


ANDERS 


oe pa He 
Lp here nt saat tea 8G ff 
Ae ttt th ahhh foal y 
Jt wh 
4 : : | : 


Sale Tuesday Evening, January 27th 


ZORN, ANDERS 
126. Mur. Maya von Hersnz. Etching. 
Delteil, No. 149—1900. 
Proor, signed in plate,—Zorn 1900, and on lower margin in pencil— 
Zorn. CLEAR BRILLIANT IMPRESSION, on Japan paper, in perfect 
condition. | 
Height, 954; width, 734 inches. Guilt frame. 


ZORN, ANDERS 
12%. A SwepisH Maponna. Etching. 
Delteil, No. 150—1900. 


FINAL STATE OF THREE, signed in pencil,—Zorn. A PARTICULARLY 
FINE IMPRESSION, on Dutch paper, in perfect condition. 


Height, 934; width, 734 inches. 
The proofs of this plate are often unsatisfactory, but this impression 
1S VERY FINE. ; 


ZORN, ANDERS 
128. Princess IncEBore. Etching. 
Delteil, No. 152—1900. 


First PLATE. TuHrrpD staTE. Proor, signed in the plate,-Zorn 
1900, and on lower margin in pencil,—Zorn. VERY RICH IMPRES- 
ston, on Dutch paper, in perfect condition. Rar. 


Height, 11%; width, 95 inches. 


ZORN, ANDERS 
129. Au Prano—Miss ANNA Burnett. KEtching. | 
Delteil, No. 159—1900. 
SECOND STATE OF TWO, signed in pencil,—Zorn. VERY FINE IM- 
PRESSION, on warm-toned Japan paper. 


Height, 7384; width, 5% inches. 


ZORN, ANDERS 
130. A New Batuap. Etching. 
Delteil, No. 169—1903. 


ONLY STATE. Proor, signed on lower margin in pencil,—Zorn. 
PARTICULARLY RICH AND BRILLIANT IMPRESSION. 


Height, 57%; length, 9 inches. 


ANDERS ZORN 
My Model and My Boat 
[No. 115] 


Sale Tuesday Evening, January 27th 


ZORN, ANDERS 
131. Mapame GRANBERG. Etching. 
Delteil, No. 171—1903. 


THIRD STATE OF FOUR, signed in the plate,—Zorn 1903, and on lower 
margin in pencil,—Zorn. UNUSUALLY BRILLIANT IMPRESSION, 
on Dutch paper, in perfect condition. 


Height, 7; width, 45 inches. 


ZORN, ANDERS 
132. Les Deux Moperes Pres pu Lit. Etching. 
Delteil, No. 174—1903. 


SECOND STATE OF TWO. Proor, signed on lower margin in pencil,— 
Zorn. FINE IMPRESSION. There were about twenty proofs taken, 
and the plate destroyed. 


Height, 77%; width, 57% inches. 


ZORN, ANDERS 
133. PorTRAIT OF THE Artist. Etching. 
Delteil, No. 180—1904. 


FINAL STATE OF THREE, signed in the plate,—Zorn 1904, and on 
lower margin in pencil,—Zorn. FINE RICH IMPRESSION, In perfect 
condition. 


Height, 6%; width, 5 inches. 


ZORN, ANDERS 
134. Miss Emma Rassmussen. . Etching. 
Delteil, No. 182—1904. 


Onty sTaTE. Signed on lower margin in pencil,—Zorn. BRILLIANT 
IMPRESSION, on Dutch paper, in perfect condition. 


Height, 77%; width, 57 inches. 


ZORN, ANDERS 
135. Ipa. Etching. 
Delteil, No. 195—1906. 


SECOND STATE. Proor, signed on lower margin in pencil,—Zorn. 
VERY RICH AND BRILLIANT IMPRESSION, on Dutch paper, in perfect 
condition. 


Height, 984; width, 614 inches. Gilt frame. 


Sale Tuesday Evening, January 27th 


ZORN, ANDERS 
136. Hemua. Etching. 
Delteil, No. 197—1906. 


SECOND STATE. Proor, signed in plate——Zorn 1906, and on lower 
margin in pencil,—Zorn. BRILLIANT IMPRESSION, on Dutch paper. 
Only about fifty impressions printed, and the plate destroyed. 


Height, 614; width, 45 inches. 


ZORN, ANDERS 
137. Raccomopace. “Mernpine.” Etching. 
Delteil, No. 198—1906. 


ONLY STATE, PROOF, signed in pencil,—Zorn. FINE RICH IMPRES- 
SsIoN, on Dutch paper. 


Height, 734; width, 534 inches. Gilt frame. 


ZORN, ANDERS 
138. PREMIERE SEANCE. Etching. 
Delteil, No. 200—1906. 
SECOND STATE OF Two, signed on lower margin in pencil,—Zorn. 
VERY RICH AND BRILLIANT IMPRESSION. There were only about 
fifteen impressions of this plate printed. EXTREMELY RARE. 


Height, 77%; width, 5% inches. 


ZORN, ANDERS 
139. CercLtEs D’Eav. Etching. 
Delteil, No. 212—1907. : 
Proor, signed in the plate——Zorn 1907, and on lower margin in 
pencil,—Zorn. VERY FINE CLEARLY PRINTED IMPRESSION, in per- 
fect condition. 
Height, 75g; width, 41% inches. Gilt frame. 


ZORN, ANDERS 
140. Epo. Etching. 

Delteil, No. 213—1907. 

OnLy sTATE. Proor, signed in plate,—Zorn 1907, and on lower 
margin in pencil,—Zorn. FINE CLEARLY PRINTED IMPRESSION. 
in perfect condition. 

Height, 7; width, 45g inches. Gilt frame. 


Sale Tuesday Evening, January 27th 


ZORN, ANDERS 
141. Prince Paut TrovuBetsKxoy. Etching. 
Debteil, No. 217—1908. 


Proor, signed in the plate-—Zorn, and on lower margin in pencil,— 
Zorn. FINE IMPRESSION. 

Height, 115g; width, 734 inches. 

This print bears the following inscription,—“Mon portrait fait a 
Stockholm pendant que je modele le portrait de Zorn. Paul 
Troubetskoy.” , 


THE FOLLOWING ETCHINGS ARE SUBSEQUENT TO DELTEIL’S 
CATALOGUE. THE CATALOGUE NUMBER ASSIGNED TO EACH 
PIECE IS APPROXIMATELY THE NUMBER WHICH THAT 
ETCHING WOULD BEAR IF DELTEIL’S CATALOGUE WERE 
BROUGHT UP TO DATE. 


ZORN, ANDERS 
142. Tue New Maip. Etching. 
Subsequent to Delteil. No. 221—1909. 


Proor, signed in the plate,—Zorn 1909, and on lower margin in 
pencil_—Zorn. FINE RICH IMPRESSION, in perfect condition. 


Height, 1134; width, 734 inches. Guilt frame. 


ZORN, ANDERS 
143. LitgEwatoH. Etching. 
Subsequent to Delteil. No. 224—1909. 


Proor, signed in the plate-—Zorn 1909, and on lower margin in 
pencil— Zorn. FINE IMPRESSION. 


Height, 734; width, 534 inches. Guilt frame. 


ZORN, ANDERS 
144. Tue Precipice. Etching. 
Subsequent to Delteil. 1909; 


Proor, signed in the plate,—Zorn, 1909, and on lower margin,— 
Zorn, KINE CLEAR IMPRESSION, on Van Gelder Zonen paper, in 
perfect condition. 


Height, 914; width, 614 inches. 


ZORN, ANDERS 
145. Tue TuHree Graces. Etching. 
Subsequent to Delteil. No. 230—1910. 


Proor, signed in the plate,—Zorn, and in pencil on lower margin,— 
Zorn. FINE RICH IMPRESSION, and in perfect condition. 


Height, 614; width, 45 inches. 


150] 


ANDERS ZORN 
Dagmar 
[No. 


Sale Tuesday Evening, January 27th 


ZORN, ANDERS 
146. Wer. Etching. 
Subsequent to Delteil. No, 232—1911. 
Proor, signed in the plate-—Zorn 1911, and in pencil,—Zorn. VERY 
FINE IMPRESSION. 


Height, 614; width, 45¢ inches. 


ZORN, ANDERS 
14%. Dzos Marz. Etching. 
Subsequent to Delteil. No. 237—1911. 


Proor, signed in the plate,—Zorn 1911, and in pencil—Zorn. FINE 
IMPRESSION, 1n perfect condition. 


Height, 7; width, 484 inches. Guilt frame. 


ZORN, ANDERS 
148. Mona. Etching. 
Subsequent to Delteil. No. 238—1911. 


VERY FINE IMPRESSION, signed in the plate,—Zorn 1911, and on 
lower margin in pencil—Zorn. On Dutch paper. 


Height, 934; width, 7 inches. 


ZORN, ANDERS 
149. SxerrI Kuuia. Etching. 
Subsequent to Delteil. No. 244—1912. 


Proor, signed in the plate,—Zorn-1912, and on lower margin,— 
Zorn. FINE CLEAR IMPRESSION. 


Height, 934; width, 734 inches. 
Many of the impressions of this plate were somewhat blurred in the 
printing. 
ZORN, ANDERS 
150. Dagmar. Etching. 
Subsequent to Delteil. 


Proor, signed in the plate,—Zorn 1912, and in pencil on lower 
margin,—Zorn. FINE IMPRESSION. 


Height, 97%; width, 7 inches. 
[See Illustration | 


ZORN, ANDERS 
151. SEAWARD SKERRIES. Etching. 
Subsequent to Delteil. No. 247—1913. 


Proor, signed in the plate-—Zorn 1913, and on lower margin,— 
Zorn. FINE CLEAR IMPRESSION. 


Height, 74g; length, 9% inches. Gilt frame. 


Sale Tuesday Evening, January 27th 


ZORN, ANDERS 
152. Vatkutia. Etching. 
Subsequent to Delteil. No. 248—1912. 
Proor, signed in pencil on lower margin,—Zorn. BRILLIANT IM- 
PRESSION. 
Height, 1134; width, 734 inches. 


ZORN, ANDERS 
153. FrigHteNep. Etching. 
Subsequent to Delteil. No. 250—1912. 
Proor, signed on lower margin,—Zorn. FINE IMPRESSION, in per- 
fect condition. 
Height, 784 ; width, 534 inches. 
From the Amster Collection. 


ZORN, ANDERS 
154. A Letrer. LHtching. 

Subsequent to Delteil. No. 252—1913. 

Proor, signed in plate,—Zorn 1913, and on lower margin in pencil, 
Zorn. FINE IMPRESSION, in black ink. 

Height, 614; width, 414 inches. 

Some of the impressions of this plate, are printed in red ink, but 
those in black ink are preferable. 


ZORN, ANDERS 
155. SHattow. Etching. 

Subsequent to Delteil. No. 255—1913. 

Proor, signed in the plate——Zorn 19138, and on lower margin in 
pencil— Zorn. FINE IMPRESSION. 

Height, 1134; width, 734 inches. 

This is among the finest of Zorn’s recent plates, giving a wonderful 
representation of sunlight. 


ZORN, ANDERS 
156. Earty. Etching. 

Subsequent to Delteil. No. 257—1917%. 

Proor, signed in plate,—Zorn 1914, and on lower margin,—Zorn. 
PARTICULARLY FINE IMPRESSION, on Van Gelder Zonen paper, in 
perfect condition. 

Height, 934; width, 7 inches. 


Sale Tuesday Evening, January 27th 


ZORN, ANDERS 
157. Gui. Etching. 
Subsequent to Delteil. No. 263—1914. 
Proor, signed in the plate——Zorn 1914, and in pencil, on lower 
margin,—Zorn. FINE IMPRESSION. 
Height, 5; width, 434 inches. Guilt frame. 


ZORN, ANDERS 
158. THE Swan. Etching. 
Subsequent to Delteil. No. 268—1910. 
Proor, signed in the plate,—Zorn 1915, and on lower margin in 
pencil,—Zorn. FINE IMPRESSION, and in perfect condition. 
Height, 934; width, 7384 inches. Guilt frame. 


ZORN, ANDERS 
159. SetF Portrait with Fur Cap. Etching. 
Subsequent to Delteil. No. 269—1916. 
Proor, signed in plate,—Zorn 1916, and on lower margin in pencil, 
—Zorn. FINE IMPRESSION, in perfect condition. 
Height, 7; width, 414 inches. Guilt frame. 
This is considered among the finest of the Artist’s recent plates. 


ZORN, ANDERS 
160. Byst. Etching. 
Subsequent to Delteil. No. 270—1916. 
Proor, signed in plate——Zorn, and on lower margin in pencil,— 
Zorn. FINE RICH IMPRESSION, on Van Gelder Zonen paper. — 
Height, 934; width, 7 inches. 


ZORN, ANDERS 
161. THz Two. Etching. 
Subsequent to Delteil. No. 271—1916. | 
Proor, signed in the plate——Zorn 1916, and on lower margin in 
pencil,—Zorn. FINE IMPRESSION, on Van Gelder Zonen paper, 
in perfect condition. | 


Height, 7%; width, 57% inches. 


ZORN, ANDERS 
162. THE Two. Etching. 
Proor. Same inscription as on preceding, FINE IMPRESSION. 
Height, 7%; width, 5% inches. 


_ Sale Tuesday Evening, January 27th 


ZORN, ANDERS 
163. DANcE at Gopsmor. Etching. 
Subsequent to Delteil. No. 272—1917. 


Proor, signed in the plate,—Zorn, 1917, and on eee margin in 
pencil Zorn. FINE RICH IMPRESSION, on Van Gelder Zonen 


paper. 
Height, 1114; width, 734 inches. 


ZORN, ANDERS 
164. THe Canin. Etching. 
Subsequent to Delteil. No. 275—1917. 
Proor, signed on lower margin in pencil,—Zorn. VERY FINE IM- 
PRESSION, on Dutch paper, in perfect condition. 
Height, 115g; width, 77% inches. 
This plate is considered to be one of the finest etched in recent years. 


ZORN, ANDERS 
165. Vickre. Etching. | 

Subsequent to Delteil. No. 276—1918. 

Proof, signed in the plate-—Zorn, and on lower margin in pencil,— 
Zorn. FINE RICH IMPRESSION. 

Height, 734; length, 115 inches. 

This is considered to be one of the most brilliant of Zorn’s recent 
plates. : 


ZORN, ANDERS 
166. Vickr. Etching. 
Proor. Same inscription as preceding. FINE RICH IMPRESSION. 
Height, 734; length, 115¢ inches. 


ZORN, ANDERS 
teers, No. 2. Htching. 
Subsequent to Delteil. No. 277—1917. 
Proor, signed in plate,—Zorn, and on lower margin in pencil,— 
Zorn. FINE IMPRESSION, on Dutch paper, in perfect condition. 
Height, 77%; width, 5% inches. 
This is considered to be one of the finest of Zorn’s recent plates. 


ZORN, ANDERS 
168. Sappo. Etching. 
Subsequent to Delteil. No. 278—1917. 
Proor, signed in plate,—1917, and on lower margin in pencil,— 
Zorn. On Van Gelder Zonen paper. 
Height, 814; width, 71 inches. 


“ 


ANDERS ZORN 


ils 


Pa 


The Water 


Wi 
= 
om 
oe) 
q 
om 
oD 7 
cis 
= re 
om e 
S Oo 
mh ZH 
pues — 
ioe) 
q 
— 
et) 
om 


Or 


Here tb 


SWEDISH PEASANT GIRL IN WINTER COSTUME. BY ANDERS L. ZORN. 


Swedish, 1860-——. Reproduced from the original painting in the possession of Arthur H. Hahlo & Co., New York. 


—See ‘‘ The Field of Art.”’ 


- Sale Tuesday Evening, January 27th 


ZORN, ANDERS 
169. Sappo. Etching. 
Proor. Same inscription as on preceding. FINE IMPRESSION. 
Height, 81g; width, 714 inches. | 


ZORN, ANDERS 
170. Atprer. Etching. 
Subsequent to Delteil. No. 279—1917. 
Proor, signed in pencil on lower margin,—Zorn. FINE IMPRESSION, 
on Dutch paper, in perfect condition. 
Height, 7; width, 484 inches. 


ORIGINAL PAINTING IN OIL 


ZORN, ANDERS 
171. THe Water Parts. Oil Painting. 
An outdoor Winter scene of warmth, comfort and content, even of 
_ jollity and happiness, with industry made a pleasure and duty 
0: done with cheer. In the foreground, as the principal element of 
the composition a fair and rosy young maiden of the northern 
clime, momentarily halting in a path freshly covered with snow, 
® as she comes forward carrying with care two large wooden water- 
0, ' pails supported on a neckyoke. She is in light gray, with a short 
cloak fur-trimmed, and a red apron comes to view, with sympa- 
thetic color notes in stocking and the twisted kerchief that binds 
her hair. Snow weights the green branch of a tree which swings 
into the picture above her head, and in the background another 
plump young girl is gathering an armful of logs for the fire, from 
the shelter of a brown woodshed abutting upon a cottage. 

Signed at the lower right,—Zorn, 1895. Exhibited at the Brooklyn 
Institute of Arts and Sciences, 1916. Exhibited at The Swedish 
Exhibition, New York, 1916, No. 155. From Arthur K. Hahlo 
& Co., New York. 

Height, 4734 inches; width, 357 inches. 


[See Illustration | 


AMERICAN ART ASSOCIATION, 


MANAGERS. 


THOMAS E. KIRBY, 


AUCTIONEER. 


en. 
=x = 

% 
to 
- 


oe 5 


LIGENT APPRAISALS 


a ' 


=. 


“INTEL 


- FOR 
___‘ UNITED STATES AND STATE TAX 


INSURANCE AND OTHER PURPOSES 


“THE AMERICAN ART ASSOCIATION 


IS EXCEPTIONALLY WELL EQUIPPED 
<i TO FURNISH 


= 


APPRAISEMENTS AND INVENTORIES 


OF 


i. “ART PROPERTY, BOOKS, MANUSCRIPTS, JEWELS 
AND PERSONAL EFFECTS OF 
EVERY DESCRIPTION 


AT CHARGES COMMENSURATE 
WITH THE DUTIES INVOLVED 


THE AMERICAN ART ASSOCIATION 
MADISON SQUARE SOUTH 


NEW YORK 
TELEPHONE, 3346 GRAMERCY 


(ee - reaps oe eenerein terreno mae meena sanemnaisennin ar arene nr - - ~- = ~ - 
a — er pean ee ante z 
al Y : 5 _— Pied —— — . ’ a ~ era a 
; . 4 “AS ee m tis = 
a " 4 _ = C Eat 
: i - ~ tik ry ee ji 
' * pA - = 2 Wao Oey ies 
Ey) Seen 
’ e A i 
’ a r 


AND BINDING BY 


a 
#2 “f ° 
Tones 

a 

Pig Ape, PR 


. 

mn, > 

ete 
ane > : : 


¥ 


Seth 
ve : 


aw S99 
aE sali at 


esses 


pri ted Wb hay 5s 


sap 
i. 


eee 


tbe Seasbmats teh hres 


ls 


ae 3 
Hoes 
ade 


getg. 


oe 
eae. 


oe peeks 


meh res 
ioe P< 
een 
ig *, 
= 
Pte sLatinds + Na 
Tesisis 
ie Bi) 


asa 


ae tulehesete Yd TaNe ap yea» $ 
i 43 
by : ¥ MAY Sy, 
Raat tanken tatiana 
Feptra ty tie a tase tet 8 rea a4 4 
+ 419 aie ¥ : rae 4,9 Cotes) 
aticbeant eet 


Ca a 


ais 
a 


Sats 
7 Pts abst a $i 
Sas 
acne Perley sas 
UT ee angehy 
PESOS Leas 2 
+ iy. 342 


5 
$} 
£4 
3 
+ 
f 
%. 
ey 


sot 


Seis Wy} uF 


tj het - 

Ny 

teales 
M 


as 


tar} 
ms 
3 


ra 


t 


let 
Pte tt 
wating ts 

Rab ane 
+ 


f 


Fe 


SPshepes 
Dey 
ry aA, 
; i ary 
ne tye 


Re BS a ieatg 
LER ALS toi 
i Rap 


PET pei eh 
“e 


PISS ; 
ane oe 8 bod 
Fe 


ieedes 


ad of 
eae z2 
ices te aiea, 
toda 
or gk nd 
me) 
a 
" - 


ar 
ea 


ad 
one: 


rh 
ron - 
a cee = 
rctew nt 
— e 
pees 


o~ 


Fe Oe 


"i 
patric 
Fe Oe 


ates 


pee oe 

ak 

For 
Peas 


